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The Schicksalslied Song of Destiny , Op. Brahms began the work in the summer of at Wilhelmshaven , but it was not completed until May Hesitant to make a decision, he began work on the Alto Rhapsody , Op. In fact, Josef Sittard argues in his book on Brahms, "Had Brahms never written anything but this one work, it would alone have sufficed to rank him with the best masters.

The piece is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, strings, and a four-part chorus. The work is in three movements, marked as follows: Ihr wandelt droben im Licht Auf weichem Boden selige Genien! Ye wander gladly in light Through goodly mansions, dwellers in Spiritland!

Luminous heaven-breezes Touching you soft, Like as fingers when skillfully Wakening harp-strings. Fearlessly, like the slumbering Infant, abide the Beatified; Pure retained, Like unopened blossoms, Flowering ever, Joyful their soul And their heavenly vision Gifted with placid Never-ceasing clearness.

To us is allotted No restful haven to find; They falter, they perish, Poor suffering mortals Blindly as moment Follows to moment, Like water from mountain to mountain impelled, Destined to disappearance below. Brahms began work on the Schicksalslied in the summer of while visiting his good friend Albert Dietrich in Wilhelmshaven.

Dietrich recalls in his writing that Brahms first received the inspiration for the piece while watching the sea:. One morning we went together to Wilhelmshaven, for Brahms was interested in seeing the magnificent naval port. On the way there, our friend, who was usually so lively, was quiet and grave. Later on, after spending a long time walking round and visiting all the points of interest, we were sitting resting by the sea, when we discovered Brahms a long way off sitting by himself on the shore writing.

It was the first sketch for the Schicksalslied , which appeared fairly soon afterwards. A lovely excursion which we had arranged to the Urwald was never carried out. He hurried back to Hamburg, in order to give himself up to his work. The piece was not realized in its final form until a solution was suggested to Brahms in by Hermann Levi who conducted the premiere of Schicksalslied later that year.

Convinced by Levi, Brahms composed the third movement as a copy of the orchestral prelude in the first movement with a richer instrumentation and transposed into C major. The Romantic characteristics of Schicksalslied , however, give this piece a closer tie with the "Alto Rhapsody" than the Requiem. Whichever piece it most closely relates to, it is clear that Schicksalsied was the work of a master composer working at the height of his skill.

At measure 29, the altos enter with the initial statement of the choral melody, which is immediately reiterated by the sopranos while the rest of the chorus adds harmony. The first example of the text painting in Schicksalslied occurs in measure 41, with the "luminous" harmonies as the choir sings " Glänzende Götterlüfte ". The orchestra returns to prominence at measure 52 with harplike accompaniment as the chorus presents a new melody to the line Wie die Finger der Künstlerin Heilige Saiten.

This time, however, the melody is taken initially by the horn with the entire chorus repeating the theme on Schicksallos, wie der Schlafende Säugling. While Brahms does return to the initial thematic material in the dominant tonality, the restatement is a mere 12 bars while the initial statement was Requiem For a Stormy Day Born From Chaos I Swear Revenge As The Only Witness When The Snow Became Rain Schicksal Early Recording Bonus Track All songs have been completely remastered and we also decided to include 5 bonus tracks.

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